First listen: Tori Amos, “hunter’s night”
Tori Amos is a concept artist disguised as a pop star. Over the past twenty years, the multiple personality mistress has been conducted in the form of a singing dramatic performance, in her intricate crystal box, including religion and mythology, gender and sex, the conflict and her own internal evolution such as the whole song legend. Each project she undertook follows a new management principle, a formal or thematic innovation that helps amoz express her great ideas in a challenging and music way.
Part of the reason for Amos to become a unique songwriter is her foundation in classical music. At the age of six, she began training at Peabody college in Baltimore, where she was the youngest student to take her course. Even in a new combination of rock, folk, cabaret and the top 40 popular music, Amos retains the classical repertoire in her subconscious. All of its music memory surfaces.
This is why “the night of the hunter” is not Amos’s stunt. In fact, the cliche is appropriate: it is her destined album, recorded through early apprenticeship and spiritual affinity.
Based on including sadie, Chopin, schubert and Bach, “the night of the hunter, the familiar composers, tells the story of a multifaceted song cycle, a couple was torn, a woman searching for its own internal unity. The story is animated by any features and themes that are recognized by Amos fans: the shape-shifting; Ancient poets fought in the woods; Starlight, Fire Muse. It was set up in an indoor music setting, which allowed Amos and the flaunting collaborators, including the Apollo Musagete string quartet and the clarinet andreas Ottensamer, to show off her classical seal.
Sounds like a pretentious, but as a long-term Amos admirers (and one-time partners, in 2005, I wrote a book together with her), I was impressed with the way she organic, she combines her writer forms of art song. Music is deeply satisfied. Under her favorite Bosendorfer keys, Amos to push myself to become an instrumentalist, in her rhythmic style of play to find new nuances, and by John Philip Shenale loose string and woodwind instruments carefully. They were inspired by the classic way they reinterpreted how they connected their composers, and Amos never sounded so stiff or dark.
The hunter’s night was ambitious, but it was also personal – not in confessional meaning, but on music. Amos sings four songs with her 11-year-old daughter Natashya Lorien Hawley (her precocious voice suggests Adele is more mysterious) and her niece, Kelsey Dobyns, appears. Leave it to Amos to find a way to challenge the classical tradition of male mentors by working a bit of matriarchal magic. Even her honor, reinventing the tradition is just her style.